Relocation Blues

Total Page:16

File Type:pdf, Size:1020Kb

Relocation Blues VOLUME 4 NUMBER 3 April 1996 Relocation Blues Last fall, shortly after we mailed the last issue of IGH, we we have done our best through the years to accumulate bookcases began a process which is still far from complete—the physical mov- and display cases which are both large and old (and thus more in keep ing of our collection of books, magazines, photos, courses, artifacts, ing with the collection), many of them had to be completely taken films, audiotapes, posters, videotapes, clippings, and other related apart and reassembled here in Anna Hiss. In addition, each of the materials to another location on the campus of the University of Texas many tens of thousands of books and magazines had to be individ- at Austin. Before, we were in Gregory Gym; now, we and the col- ually packed, moved to Anna Hiss, unpacked, and reshelved. lection are housed in Anna Hiss Gym. [please note our new mailing This sad tale isn’t intended to make anyone feel scary for address on the back page. The phone and fax us, because we love the collection and we would remain the same.] Gregory Gym was built in have moved it to its new home even if we had 1929, with substantial additions from the 1960s, had to do it a box at a time. The aim here is but it was in bad need of the renovation which merely to provide some context for our apolo- prompted our relocation. gy about the lateness of this issue. Normally, Our new quarters are less spacious than our intention is to publish a new issue every two they were in Gregory, and we are very cramped. or three months, depending on the quality of the On the positive side, our materials are primari- material we have on hand, but this time the task ly located in one room now, and so the place has of moving the collection—along with our usu- more of the feel of a library about it. In any case, ual responsibiities as faculty members here at we are grateful to have such a large room (over the university—has made us very late. Because 3000 square feet) in which to store and use the of the delay, we have lengthened the issue by collection and we am beginning to be able to find four pages. The addtional four pages allowed things again. Those who have never visited the us to include, in full, two of the longest, most collection no doubt have a hard time imagining interesting (although completely different) arti- how extensive it is and how much space it cles we have ever published. We hope you requires. To provide some context, imagine a accept our apology, enjoy this issue, and con- 3200 square foot room (40’ x 80’) with eleven tinue to support IGH. foot ceilings. Next, imagine approximately 70 large, brimful bookshelves arranged in tightly On another matter, we have been asked spaced rows or “stacks.” Finally, imagine boxes by quite a few readers to provide news of the of unpacked material piled on top of almost ever) young man we have been coaching—6'3”, 415 shelf up to the ceiling. (We are also fortunate to have another stor- pound Mark Henry. It would probably be safe to say that over the age space of approximately 1000 square feet down the hall and it is past nine or ten months, Mark has received more attention from the packed floor to ceiling with less frequently used items.) media—both print and electronic—than any competitive lifter since Before all this material could be moved to Anna Hiss Gym, Paul Anderson back in the 1950s. The pressure from the media of course, the bookcases on which it has rested for the past 15 years over the last months has been unprecedented for any iron gamer other or so had to be emptied and moved to their new location. Because than such bodybuilding legends as Steve Reeves and Arnold. IRON GAME HISTORY VOLUME 4 NUMBER 3 It began last spring with a long, flattering piece on the front length in most of the top bodybuilding magazines. page of the New York Times following Mark’s gold medal in the Pan Last week, he laughed and said he’d been interviewed so American Games in Argentina. Since that time he either has appeared many times that he was beginning to feel like he was running for or will appear on such television shows as Late Night With Conan something. Indeed, media pressure of this sort is enervating, but Mark O’Brien, The George Michael Sports Machine, The CBS Summer feels he owes it to the game to make himself available. In almost Sports Show, Prime Sports’ coverage of the 1996 National Weightlift- every article and television show, he manages to get across his mes- ing Championships, The Tonight Show with Jay Leno, ESPN’s Pro- sage that drugs are not necessary for world class strength, and he told files, Primetime Live, and The Today Show. In the medium of print, an interviewer the other day that he felt much more kinship with he was profiled in a long story recently in USA Today, featured on the men who did their top lifting before 1960. He said that he con- the cover of Vanity Fair in a photo by the celebrity photographer sidered his top competitors in weightlifting today to be cheaters, pure Annie Liebowitz photographed by Life for their photo essay on bod- and simple, and that he knew he was in a fight that wasn’t fair. He ies in the Olympics, given a two page spread in U.S. News and World went on to say that even if he doesn’t win the gold (or any other) Report, featured twice in Outside magazine, covered at length in medal in Atlanta, he still believes that his way—the old way—is Newsweek, written about again in Sports Illustrated, and profiled at the best way. 2 IRON GAME HISTORY VOLUME 4 NUMBER 3 PATRON IRON GAME HISTORY VOL. 4 NO. 3 SUBSCRIBERS TABLE OF CONTENTS April 1995 John Balik, Vic Boff, Bill Brewer, Dean Page 1. Relocation Blues.. .Terry Todd Carnenares, James Compton, Robert Con- 3. Philadelphia to York.. John Fair ciatori, Mr & Mrs. Bruce Conner, Peter 18. Saga of Galen Gough. .GregTravis DeAngelis, Michael Dennis, Salvatore 27. Grapevine: OBSA Dinner . .Ken Rosa Franchino, Dr. Martin French, Dr. Peter George, Mike Graham, Fairfax Hackley, Norman Komich, Jack Lano, James Lorimer, Co-Editors . .Terry and Jan Todd Executive Editor. Dorothy J. Lovett Don McEachren, Dr. Walter Marcyan, Dr. Creative Consultant. Steve Bittick Spencer Maxcy, Juanita Peoples, Terry Business Manager. Kim Beckwith Robinson, John Roche, Ulf Salvin, In Mem- ory of Joe Santillo, Frederick Schutz, Harry Editorial Board . John Balik (Santa Monica Schwartz, Frank Stranahan, Dr. Ted Thomp- CA), Jack Berryman (U. of Washington-Seattle), Vic Boff son, Frank Tirelli, Kevin Wade, Joe Weider, (Fort Meyers, FL). John Fair (Auburn University- Fred Yale, Harold Zinkin. Montgomery, AL) William H. Goetzmanu (U. of Texas- Austin), John Grimek (York, PA), John Hoberman (U. of FELLOWSHIP SUBSCRIBERS Texas-Austin), Joe Roark (St. Joseph, IL), Al Thomas (Kutztown Univ.), Dave Webster (Irvine, Scotland). Anonymous, Joe Assirati, Bob Bacon, John Benson, Alfred C. Berner, Mike BonDurant, Howard Bovell, Bernard Iron Game History is published by the McLean Sport History Fellow- ship at the University of Texas at Austin. Address: Terry and Jan Todd, the Todd Brand, Jerry Byrd, Massimo Capoccioni, Al Christensen, McLean Collection, Anna Hiss Gym 107, The University of Texas at Austin, Vera Christensen, Bill Clark, Jim Clark, Dr. Gerald Coles, Austin, Texas, 78712. Telephone: 512-471-4890. Fax: 512-443-0381 Martha Deal, Bob Delmontique, Lucio Doncel, Marvin U.S. Subscription rate: $20.00* per six issues, $35.00* for twelve issues, Eder, William Eubanks, Stephen Galya, James Gray, James $50.00 for twelve issue McLean Fellowship membership, $100.00 per twelve issue McLean Fellowship Patron's subscription. (Additional information can be Hammill, Howard Havener, Dykes Hewett, Marvin Hol- found on page 24.) Address all subscription requests to: IGH Subscriptions, lan, Raymond Irwin, Harold Kendell, Sol Lipsky, Dr. John Anna Hiss Gym 107, The University of Texas, Austin, Texas. 78712. Long, Rolan Malcolm, Louis Mezzanote, Torn Minichiel- *Canada and other foreign subscriptions add $5.00 (U.S.) per six issue lo, Joseph Mullen, Bill Nicholson, Susana R. Nixon, Joe subscription. Back issues: $4.00 each. Ponder, Dr. G. L. Porter, Joseph Puleo, Dr. Ken “Leo” Rosa, John T. Ryan, Dr. Joseph Sansolo, Pudgy & Les Iron Came History is a non-profit enterprise. Postmaster: Please send address corrections to: Iron Game History, Subscription, Anna Hiss Gym 107, Stockton, Edward Sweeney, Mark Tenpenny, Irving Tor- The University of Texas, Austin, Texas 78712. (ISSN 1069-7276) res-Rivera, Lou Tortorelli. 2 APRIL 1996 IRON GAME HISTORY FROM PHILADELPHIA TO YORK: GEORGE JOWETT, MARK BERRY, BOB HOFFMAN, AND THE REBIRTH OF AMERICAN WEIGHTLIFTING, 1927-1936* John Fair, Ph.D. Auburn University at Montgomery Editor’s Note: This article is the final installment of a trilogy on the origins of American weightlifting written by Dr. John Fair, chairman of the history department at AUM. The first two installments appeared in IGH vol. 2 no. 6 (May 1993) and IGH vol. 3 no. 5 (December 1994). If you missed those issues and would like copies, back order information is available on page 28. and Jowett’s conduct of exhibition meets at Milo on a regular basis, Philadelphia became the center of iron game activity.2 That Jowett was unable to sustain his lofty standing may be attribut- ed to his inability to control the commercial and political infras- tructure of weightlifting.
Recommended publications
  • Circus Friends Association Collection Finding Aid
    Circus Friends Association Collection Finding Aid University of Sheffield - NFCA Contents Poster - 178R472 Business Records - 178H24 412 Maps, Plans and Charts - 178M16 413 Programmes - 178K43 414 Bibliographies and Catalogues - 178J9 564 Proclamations - 178S5 565 Handbills - 178T40 565 Obituaries, Births, Death and Marriage Certificates - 178Q6 585 Newspaper Cuttings and Scrapbooks - 178G21 585 Correspondence - 178F31 602 Photographs and Postcards - 178C108 604 Original Artwork - 178V11 608 Various - 178Z50 622 Monographs, Articles, Manuscripts and Research Material - 178B30633 Films - 178D13 640 Trade and Advertising Material - 178I22 649 Calendars and Almanacs - 178N5 655 1 Poster - 178R47 178R47.1 poster 30 November 1867 Birmingham, Saturday November 30th 1867, Monday 2 December and during the week Cattle and Dog Shows, Miss Adah Isaacs Menken, Paris & Back for £5, Mazeppa’s, equestrian act, Programme of Scenery and incidents, Sarah’s Young Man, Black type on off white background, Printed at the Theatre Royal Printing Office, Birmingham, 253mm x 753mm Circus Friends Association Collection 178R47.2 poster 1838 Madame Albertazzi, Mdlle. H. Elsler, Mr. Ducrow, Double stud of horses, Mr. Van Amburgh, animal trainer Grieve’s New Scenery, Charlemagne or the Fete of the Forest, Black type on off white backgound, W. Wright Printer, Theatre Royal, Drury Lane, 205mm x 335mm Circus Friends Association Collection 178R47.3 poster 19 October 1885 Berlin, Eln Mexikanermanöver, Mr. Charles Ducos, Horaz und Merkur, Mr. A. Wells, equestrian act, C. Godiewsky, clown, Borax, Mlle. Aguimoff, Das 3 fache Reck, gymnastics, Mlle. Anna Ducos, Damen-Jokey-Rennen, Kohinor, Mme. Bradbury, Adgar, 2 Black type on off white background with decorative border, Druck von H. G.
    [Show full text]
  • Xochitl Sosa- Circus Performer 2126 Emerson St — Berkeley, CA 94705 Phone: (510)219-5157 — — E-Mail: [email protected]
    Xochitl Sosa- Circus Performer 2126 Emerson st Berkeley, CA 94705 Phone: (510)219-5157 www.xochitlsosa.com E-mail: [email protected] Skills Dance Trapeze – Static Trapeze - Silks – Rope/Corde Lisse – Duo Trapeze – Straps – Acrobatics – Lyra/Cerceaux – Partner acrobatics – Stilting – Modern Dance Height: 5’5” Weight: 127 lbs Hair Color: Brown Experience Acrobatic Conundrum: Dance Trapeze, Duo Trapeze, Rope, partner acrobatics, acting (USA tour) 2016 Rolling in the Hay Cabaret: Dance trapeze (San Francisco, CA) 2015 Circovencion Mexicana: Performer on Dance Trapeze & Workshop instructor (Oaxtepec,Morelos MX) 2015 Yerba Buena Night: Performer on Dance Trapeze & Rope (San Francisco, CA) 2014-2015 Hardly Strictly Bluegrass Festival: Performer on Silks (San Francisco, CA) 2015 Topsy Turvy Queer arts Festival: Performer on Dance Trapeze (San Francisco, CA) 2015 Aerial Acrobatics Festival: Performer on Dance Trapeze (Denver,CO) 2014 Aerial Horizon: Performer on Dance Trapeze (San Antonio, TX) 2014 Crash Alchemy/ AgentRed: Dancer, Lyra, Trapeze, Partner Acrobatics, Contortion (USA) 2010-2015 Sky Candy Productions: Trapeze, Duo trapeze, Dancer, partner acrobatics, instructor (Austin,TX) 2010-2015 NASCAR’s Wild Asphalt Circus – Hellzapoppin Sideshow: Static Trapeze, Silks (Dallas,TX) 2013 Formula One Inaugeration: OMEGA events: Duo Trapeze, Static Trapeze (Austin,TX) 2012 Education Leslie Tipton: Contortion San Francisco, CA 2015 Chloe Farah: Duo Trapeze, Dance Trapeze, Rope Montreal, Canada 2015 Itzel Virguenza: Duo Trapeze, Dance Trapeze Montreal, Canada 2015 Victor Fomine: Straps Montreal, Canada 2015 Serchmaa Byamba: Contortion San Francisco, CA 2014-2015 Rachel Walker: Dance Trapeze Montreal , Canada 2013 NECCA Protrack Program Brattleboro, Vermont 2012-2013 (coaches: Aimee Hancock, Elsie & Serenity Smith, Bill Forchion, Sellam Ouahabi) NECCA Bootcamp Brattleboro, Vermont 2011 Sky Candy Austin Austin, TX 2010- 2014 Camp Winnarainbow (coahing under: Carrie Heller) Laytonville, CA summers 2000- 2009 2 .
    [Show full text]
  • Keith Resume
    347-404-0422 Height: 5’ 11’’ [email protected] Weight: 185 lbs. bindlestiff.org Hair: Dk Brown, Long Keith Nelson Eyes: Brown VARIETY ENTERTAINER * J UGGLER * S IDESHOW MARVEL * C LOWN * M ASTER OF CEREMONIES PERFORMING PROFESSIONALLY SINCE 1994 Performance Skills Sideshow Feats: Circus Skills: Diabolo Bullwhip Sword Swallowing Clowning Balloon Sculpture Archery Fire-eating Stilt Walking Balancing Gun Spinning Bed of Nails Unicycling Mouth sticks Human Blockhead Basic Tumbling/Acrobatics Bottle and glass tricks Additional Skills Mental Floss Tuba Straight Jacket Escape Prop Manipulation: Western Skills: Concertina Juggling Trick Rope Spinning Magic Plate Spinning Knife Throwing Basic Tap Dancing Work Experience - Venues & Festivals Avery Fischer Hall (w/ Ornette Coleman), NYC King Opera House, Van Buren, AK Hall & Christ’s World of Wonders, NJ San Diego Street Scene, CA Yale Cabaret, Yale University, CT Blue Angel Cabaret, NY Toyota Comedy Festival, NY Knitting Factory, NY Burning Man Festival, NV Bonnaroo, TN Glastonbury Festival, UK All Good Festival, WV Coney Island Sideshow by the Seashore, NY MGM Grand Theater, Washington, DC Wild Style Tattoo Convention, Austria Borgata Hotel and Casino, Atlatnic City Television/Film/Video Late Late Show with James Corden “The Today Show,” NBC “On the Inside,” BBC Late Night w/ David Letterman,” CBS “Twisted Lives of Contortionist,” “Tudo de Bom,” MTV Brazil “Carson Daly Show,” NBC Discovery “Tonigh Show wih Jay Leno” “Oddville,” MTV “Rock of Ages,” VH-1 “OZ.” HBO “212,” FOX Clients Bendel’s
    [Show full text]
  • The University of Wisconsin – Eau Claire “Flirting and Boisterous Conduct Prohibited”: Women's Work in Wisconsin Circuse
    THE UNIVERSITY OF WISCONSIN – EAU CLAIRE “FLIRTING AND BOISTEROUS CONDUCT PROHIBITED”: WOMEN’S WORK IN WISCONSIN CIRCUSES: 1890-1930 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS IN CANDIDACY FOR THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF HISTORY BY REBECCA N. REID EAU CLAIRE, WISCONSIN MAY 2010 Copyright © 2010 by Rebecca N. Reid All rights reserved Because I was born a member of the so-called weaker sex and had to work out some kind of career for myself… -Mabel Stark, tiger trainer CONTENTS LIST OF ILLUSTRATIONS . vi GLOSSARY . .vii ABSTRACT . .ix Step Right Up! . 2 Wisconsin: Center of the Circus World. .7 How Many Women?. 8 Circus Women in Popular Media . 11 Circus Propaganda?. .12 “The Circus Girl is Industrious”. .14 Notable Circus Woman: Mayme Ward . 15 Sunday School Show . 16 Family Connections . 18 Notable Circus Women: The Rooneys . .19 Bare Legs and Bloomers . 20 Vaudeville and Burlesque. .21 Hoochie Coochie Girls and Grifters . .23 Freaks . .24 City on a Train . 26 The Dining Tent . 28 Queen’s Row . 29 Salaries and Wages . .32 iv The Tent, Folded . .36 APPENDIX . 38 BIBLIOGRAPHY . 43 v ILLUSTRATIONS Figures 1. Mayme Ward, catcher . .15 2. Lizzie Rooney, 1898 . .19 vi GLOSSARY ballyhoo. A sideshow performer that came out of the sideshow tent to entice marks; often a scantily clad woman, either a snake charmer or tattooed lady. ballet girl. A young woman who appeared in the opening spectacle or parade. Little dancing skill was required of ballet girls, as their primary job was to look pretty and entice customers to buy a ticket to the circus.
    [Show full text]
  • Representations of Intersex People in Circus and Sideshow Novels
    Networking Knowledge 10(3)Sex and Sexualities in Popular Culture (Oct. 2017) The Hidden Sex: Representations of Intersex People in Circus and Sideshow Novels NAOMI FRISBY, Sheffield Hallam University ABSTRACT Despite being the hidden sex in society, intersex people with ambiguous genitalia are visible in a number of circus and sideshow novels. These characters are often used as plot devices, performing a stable gender identity whilst concealing their intersex status for the sake of the plot. They are portrayed as deceptive and licentious, their identities placing them outside of the sex and gender binaries and leaving them dehumanised. It is only in Pantomime by Laura Lam that the possibility of an alternative portrayal is glimpsed, although questions regarding the sex and gender binaries and non-normative sexuality remain. KEYWORDS Intersex, Gender, Performativity, Sexuality, Literature Introduction The US publishing industry came under scrutiny in 2015 due its failure to offer a true reflection of the society in which we live. A ‘Diversity Baseline Survey’ (2015) conducted by the publisher Lee & Low Books sought to explain why, in the past twenty years, the number of diverse books published in the USA never exceeded an average of 10%. The authors of the survey drew a correlation between the high percentage of white (80), cis (98.7), heterosexual (88.2), non-disabled (92.8) people working in the publishing industry and the lack of broad representation in published books. One genre in which we might expect to find a diverse range of characters is circus and sideshow literature. The circus has been seen as a safe space for those who fall outside of mainstream society, particularly those with non-normative bodies1.
    [Show full text]
  • America's News English Big Top Chicago Sun-Times - Friday, April 6, 2001 Author: Delia O'hara
    America's News English big top Chicago Sun-Times - Friday, April 6, 2001 Author: Delia O'Hara `Under the Big Top' Through Sept. 9 Museum of Science and Industry, 57th Street and South Lake Shore Free with museum admission (773) 684-1414 A circus must appeal to people at a very basic level. At a time when other traditional entertainments are withering, the circus is evolving, gaining strength, astonishing new generations of children with its distinctive panoply of sights, sounds, smells and emotions. Now the Museum of Science and Industry will take us "Under the Big Top" to look at the mystique of the circus. Beginning today, the Hyde Park museum will present a 15,000-square-foot exhibit based on the traveling "Circus Magicus," more than 200 artifacts, photographs and videos of circus history developed by the Musee de La Civilisation in Quebec. The exhibit was co- produced by Cirque du Soleil, one of the performance groups that is re-creating the concept of the circus in our time. Some of the artifacts are remarkable, including a cast of a bronze statuette of an acrobat from ancient Rome, the makeup of famous American clowns, photographs such as one of the bearded woman Annie Jones, and a reproduction of a show costume worn by the great acrobat Karl Wallenda, who died performing his act in the 1960s. In addition, the museum staff has developed some lively components of their own to complement Circus Magicus. "Giant Science Circus" highlights the science behind the magic. How can tightrope walkers stay on a cable five-eighths of an inch thick? Why is the diameter of a circus ring always 42 feet? The answers to these questions are based in physics.
    [Show full text]
  • Towards a Genealogy of Circus Cinema by Brian Mcilroy
    The Big Top on Screen: Towards a Genealogy of Circus Cinema By Brian McIlroy [delivered as a conference paper at the Film Studies Association of Canada annual conference at UBC on June 5th, 2019] Ever since the contemporary circus arose to significant public attention in the 1970s and 1980s, a form which cast away the use of animals in favour of the supremacy of the human body, general themes, theatricality, basic narrative, and modest character development, circus both recreational and professional has exploded in popularity. Circus themed films have waxed and waned in popularity over the history of cinema, but yet have been omnipresent. For example, the recent musical circus film The Greatest Showman (2017) was made on a budget of $84 million and scored $435 million at the box-office. In a strange way, study of the circus and its representations on screen tells us just as much about conformism as it does about iconoclasm. The freedom of the circus so engrained in the often-used phrase “ran away to the circus” proves to be more often than not a reckoning rather than an escape. And it is undeniable that the circus relies on an economy of exchange that fits within the capitalist system, even if living conditions as itinerant travelers give the illusion of freedom. Theorists such as Paul Bouissac have extolled the characteristics of circus performance as amenable to cybernetic and semiotic approaches in order to understand its cultural meaning, although circus within cinema I argue here goes beyond these formal theoretical structures to suggest that it is a reinsertion of spectacle and disruption within the contemporary cinematic universe, one that cannot be easily controlled.
    [Show full text]
  • That's All Folks! Teacher Resource Pack Primary
    That’s All Folks! Teacher Resource Pack Primary INTRODUCTION Audiences have been delighted and entertained by circus and vaudeville acts for generations. The combination of short performances, showcasing music, dance, comedy and magic, was hugely successful among the working classes during the 19th century, alongside burlesque and minstrel shows, up until the 1930s. That’s’ All Folks blends the ideas from vaudeville, or short and entertaining acts, with the skills of modern circus and slapstick clowning to create an energetic show featuring separate yet interlinked routines that explore different characters and situations throughout the history of the theatre. The actors use a range of circus and clowning skills including juggling, acrobalance, bell routines, slapstick, comical routines, musical chairs, improvisation and audience participation to create an entertaining performance reminiscent of the variety shows of yesteryear. These notes are designed to give you a concise resource to use with your class and to support their experience of seeing That’s All Folks! CLASSROOM CONTENT AND CURRICULUM LINKS Essential Learnings: The Arts (Drama), SOSE (History, Culture), English Style/Form: Vaudeville, Commedia dell’Arte, Mask, Traditional and Contemporary Clowning, Melodrama, Visual Theatre, Physical Theatre, Physical Comedy, Circus, non-verbal communication and Mime, Improvisation and Slapstick. Themes and Contexts: Creativity and imagination, awareness, relationships. © 2016 Deirdre Marshall for Homunculus Theatre Co. 1 HISTORICAL CONTEXT Vaudeville Vaudeville was a uniquely American phenomenon and was the most popular form of American entertainment for around fifty years, from its rise in the 1880s, until the 1930s. It played much the same a role in people's lives that radio and later television would for later generations.
    [Show full text]
  • “Flowers in the Desert”: Cirque Du Soleil in Las Vegas, 1993
    “FLOWERS IN THE DESERT”: CIRQUE DU SOLEIL IN LAS VEGAS, 1993-2012 by ANNE MARGARET TOEWE B.S., The College of William and Mary, 1987 M.F.A., Tulane University, 1991 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre & Dance 2013 This thesis entitled: “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 written by Anne Margaret Toewe has been approved for the Department of Theatre & Dance ______________________________________________ Dr. Oliver Gerland (Committee Chair) ______________________________________________ Dr. Bud Coleman (Committee Member) Date_______________________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Toewe, Anne Margaret (Ph.D., Department of Theatre & Dance) “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 Dissertation directed by Professor Oliver Gerland This dissertation examines Cirque du Soleil from its inception as a small band of street performers to the global entertainment machine it is today. The study focuses most closely on the years 1993 – 2012 and the shows that Cirque has produced in Las Vegas. Driven by Las Vegas’s culture of spectacle, Cirque uses elaborate stage technology to support the wordless acrobatics for which it is renowned. By so doing, the company has raised the bar for spectacular entertainment in Las Vegas I explore the beginning of Cirque du Soleil in Québec and the development of its world-tours.
    [Show full text]
  • A Real, Live, Traveling Sideshow Is up Against the Biggest Challenge
    Page 1 A Real, Live, Traveling Sideshow is Up Against the Biggest Challenge of Their Lives - Facing Their Fears! The international tour features some of the deadliest stunts in live entertainment. NEW YORK, May 6, 2021 (Newswire.com) -Hellzapoppin, the world's greatest international touring rock-n-roll circus sideshow, has officially announced its "Face YourFears" 2nd U.S. tour dates for 2021. The vaudeville freak show of wonder features live stunts such as fire eating and fire breathing, magic and illusions, and a real live half-man. Members of the audience will see legendary and world- breaking crossbow artistry, acrobatic stunts, sword swallowing, the human blockhead, human oddities and curiosities, and much more. The tour kicks off in Baltimore at the Baltimore SoundStage on June 3rd. You can find all the upcoming tour dates at https://hellzapoppin.com/tour-dates. "Our fans are about to meet a cavalcade of human curiosities, the likes of which they've never seen before," said Hellzapoppin's Ringleader and Producer Bryce "the Govna" Graves. "I will be their shepherd and guide on a journey of miraculous discovery through the world of the strange, the odd, the bizarre, the macabre, and where the most unusual people entertain. I've spent the past year rebuilding and redesigning the entire show from top to bottom." Hellzapoppin's performers have been featured on a wide variety of major television shows, including but not limited to Masters of Illusions, AMC's Freakshow, America's Got Talent, Britain's Got Talent and the best-selling magic show in Broadway history, The Illusionists! Hellzapoppin has been on the ride of their lives.
    [Show full text]
  • Problem Bodies and Sideshow Space: a Study of the Twentieth Century Sideshow in Blackpool 1930-1940
    Problem bodies and sideshow space: A study of the twentieth century sideshow in Blackpool 1930-1940 by Vicki Pugh A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History Faculty of Arts and Humanities University of Sheffield September 2020 1 Contents Declaration………………………………………………………………………..4 Abstract……………………………………………………………………….…..5 Acknowledgements………………………………………………………………7 Introduction………………………………………………………………………9 Creating an interdisciplinary approach to the twentieth century sideshow……………………………….…………………………………9 Case study: introducing Luke Gannon……………………………..……12 Research material: initial archival interest………………………………18 Newspaper sources and the role of the press………………………….…21 Wider literature and theoretical debates: space and the body ….………..27 Thesis synopsis ………………………………………………………….56 I: Gannon and the Golden Mile Introduction ………………………………………………………………61 Blackpool…………………….…………………………………………...62 A showman of starvation: Gannon’s move to the Golden Mile…………..68 Self-starvation as ‘spectacle’…………………………………………...…75 Starving Brides and glass cabinets………………………………………..88 Conclusion……………………………………………………………….100 II: Negotiating for power and a place on the Golden Mile Introduction……………………………………………………….…….104 A new crowd in Blackpool……………………………………….….….104 Show content and crowd control ……………………………….………118 Gannon and the Blackpool entertainment industry………………….….124 Gannon’s later years as a sideshow proprietor………………..…….…..141 Conclusion…………………………………………………………...….143 III: People doing
    [Show full text]
  • Jennifer Miller and Circus Amok by Shayda Kafai
    MP: An Online Feminist Journal Fall 2010: Vol.3, Issue 2 Subverting the Myth of the Bearded Lady: Jennifer Miller and Circus Amok By Shayda Kafai “I live in a very liminal place. Liminal means: an ‘inbetween place.’ It means ‘in a doorway, dawn or dusky.’ It’s a lovely place. In the theater, it’s when the lights go out and before the performance begins.” –Jennifer Miller from Juggling Gender Bodies possess narratives, stories both told and hidden. When anomalies mark the body with difference, the visual stories it offers viewers become dichotomous and electric. Such was the draw of the freak shows of the 19th and 20th centuries, a simultaneous mixture of awe and dread. The body of physical difference became spectacle, labeled as Other, a deviant subject which actively drew the normative gaze. The lineage of framing bodies of difference as freaks, exposing them to the voyeuristic gaze of hegemony, is lengthy. While authors like cultural historian Robert Bogdan and cultural critic Leslie Fiedler examine the social and cultural connotations of freak shows before and during the P.T. Barnum era, it is also vital to examine contemporary applications of freakery. Through such unpacking, we can begin to unravel the culturally sedimented applications of the word freak; we can understand and then undermine its potential to marginalize. This paper will discuss the work and life of Jennifer Miller, a multidisciplinary artist, clown, and self-identified woman with a beard. Through her daily life and her 59 MP: An Online Feminist Journal Fall 2010: Vol.3, Issue 2 performances in Circus Amok, a circus she founded in 1989 and currently directs, Miller challenges the historical connotations of freak shows; hers is a project of resistance.
    [Show full text]